Talk:Compas

there is no reason to have two sections talking about cadencelypso so I merged it below with the derivatives. also, i added cadence in the Caribbean with compas history. why don't mini jazz get merged with compas?

Why the title cadence-lypso is so important for Dominica and the French Antilles?

The title cadence-lypso is maintained mostly by the French Antilleans unable to find a basis for the zouk love origination. As already explained, Jeff Gordon used the word cadence-lypso "mizik a nou", "our music" because the band repertoire was calypso and mostly cadence: The two influential music of Dominica. Dominican cadence bands also feature reggae music. Originally the word kadans was on the albums covers whether it's grammacks or exile one. They all featured calypso, reggae and mostly cadence. Grammacks: mideba (kadans), banana (sweet-kadans), ou pa bon, (kadans), ou pitit (kadans), reggae down, disco live (kadans) this same tune is categorized as zouk retro by Deejay Zak (midlay kadans 11/24/2011) Exile one: akiyaka, gade deye...(Midnight) get ready 1997, etc. This part is not to completely deny any attempt made to fusion cadence and calypso, the point here is that the great majority of the songs are either calypso, reggae or mostly kadans. If there is any fusion it should not be significant enough to be listed on album or CD covers, which would be confusing. Grammacks, Exile One, Ophelia Marie, and many Dominican bands played cadence-lypso (Dominica Kadans) that later influenced zouk love in the French Antilles. Nowadays, zouk-love is called the French Antilles cadence or compas music.

In the early 70's, Gordon Henderson, Exile One's leader and founder coined the name "Cadence-lypso" in his full band that used a full-horn section and was the first to use the synthesizers in kadans. Many mini-jazz from Haiti and the French Antilles followed this format. In Haiti, two of the most popular bands, Les Difficiles de Pétionville became D.P Express and Les Gypsies became Scorpio Universel after adding a full horn section in addition to their new keyboard synthesizer.

In 1973, Shorty was the first to really define his music and with "Indrani" and "Endless Vibration" (not just the song but the entire album) in 1975, calypso music really took off in another direction. Later in 1975 Shorty visited his good friend Maestro in Dominica where he stayed (at Maestro's house) for a month while they visited and worked with local cadence artists. You had Maestro experimenting with calypso and cadence ("cadence-lypso"). Sadly a year later Maestro would die in an accident in Dominica and his loss was palpably felt by Shorty, who penned "Higher World" as a tribute.

In Dominica, Shorty had attended an Exile One performance of cadence-lypso, and collaborated with Dominica's 1969 Calypso King, Lord Tokyo and two calypso lyricists, Chris Seraphine and Pat Aaron in the early 1970s, who wrote him some creole lyrics. Soon after Shorty released a song, "Ou Petit", with words like "Ou dee moin ou petit Shorty" (meaning "you told me you are small Shorty"). Shorty's 1974 Endless Vibrations and Soul of Calypso brought soca to its peak of international fame. Soon after, Shorty recorded a song "ou petit", a fusion of calypso, cadence. and the kwéyòl lyrics...this is considered to be the first "soca" song, another cadence-lypso tune (calypso and cadence).

In 1979, Kassav' was formed by Pierre-Edouard Décimus and Paris studio musician Jacob F. Desvarieux. Together and under the influence of well-known Dominican and Guadeloupean kadans-lypso or compas bands like Experience 7, Grammacks and Exile One, they decided to make Guadeloupean carnival music recording it in a more fully orchestrated yet modern and polished style. Kassav' created its own style "zouk" by introducing an eleven-piece gwo ka unit and two lead singers, tambour, ti bwa, biguine, cadence-lypso: calypso and mostly cadence or compas with full use of the MIDI technology. In the 1980s they took Caribbean music to another level by recording in the new digital format. Their first album, Love and Ka Dance (1980), established the sound of zouk.

In 1988, Windward Caribbean Kulture started a fusion of jing ping and cadence-lypso...this later became bouyon music. Bouyon as popularized largely by the WCK band blends in jing ping, cadence-lypso, and traditional dances namely bèlè, quadrille, chanté mas and lapo kabwit, mazurka, zouk and other styles of caribbean music. From a language perspective, Bouyon draws on English and Kwéyòl. It is popular across the Caribbean, and is known as jump up music in Guadeloupe and Martinique.

Dominica holds the title "cadence-lypso" a golden era for modern creole music. — Preceding unsigned comment added by 111.92.176.37 (talk) 21:38, 29 March 2014 (UTC)

Not neutral

I´ll like to add the comment that Nemours and Sicot work together within the Orchestra Internacional in 1954. So, it´s difficult to say that there is only one founder of the konpa dirèk.--Juan Quisqueyano 20:58, 25 April 2010 (UTC)

Nemours is the promoter of the konpa direk name. However, what he called konpa is the same meringue that Haitians have been dancing for years. He simply popularized this light and easy to dance meringue style. Webert Sicot did the same thing with his cadence.Pintade (talk) 13:21, 12 January 2013 (UTC)

Maestro Nemours Jean-Baptiste promoted himself as the Creator of "Konpa" thru most of his songs when he was alive. If you, Wikipedia, have a chance, listen to some of Maestro Nemours Jean-Baptiste's songs with some translators and they will be able to tell you the truth. "When he was alive, no one could contradict his self-promotion because he was saying the truth. Now that he's dead, everyone is saying and writing anything they feel like." There a saying in Haitian that says "The dead people are wrong and the living people are right". If you want to use some references, check Mr. Eddy Garnier's page on Face Book and you can view an article that he wrote about Maestro Nemours Jean-Baptiste, and how he analyzed his songs one by one to prove his Creation.

P.S. Wikipedia, please do a lot research about the information people are posting because a lot people are saying that Wikepedia information is not credible. Vive Konpa or Live Konpa!!!! —Preceding unsigned comment added by 173.168.221.62 (talk) 04:58, 6 November 2010 (UTC)

Why the person who didn't have the gut to sign the comment tried to associate him/herself with konpa music? what is the connection here?Pintade (talk) 15:05, 16 January 2013 (UTC)

Ophelia Marie is the first kadans female singer to achieve international popularity in the late 70's. Why isn't that mentioned here? Her style was imitated by many in the French Antilles eventually evolving into Zouk-love.— Preceding unsigned comment added by 203.205.126.84 (talk) 14:00, 19 March 2014 (UTC)

That's because this is compas music, not the compas (cadence) brought to the French Antilles by Sicot. However, being that cadence is compas if you feel it is necessary to include her here than feel free to do so; leave room for common human error. Savvyjack23 (talk) 16:46, 25 March 2014 (UTC)

Accuracy disputed

Edit warring on this article has meant it reflects what the latest editor wants it to say, rather than what reliable sources (see WP:RS say about the subject. Dougweller (talk) 10:03, 10 January 2013 (UTC)

The Compas music article is reliable. Its in accordance with many writers such as Gage Averill, Peter Manuel, Carpentier, unwritten facts and testimonies from many compas artists, etc. this is why this inaccuracy notice is a surprise. This compas music article is made of facts not emotion or propaganda. Compas as a meringue modern is a real music genre. Wikipedia should be very careful with those trying to get undeserved credits. For example it is a known fact that zouk was a fast tempo carnival style created and popularized by French Antilles group kassav. The style was a mix of gwo ka, calypso, biguine, African and cadence or compas with the full use of the MIDI technology. This style faded away quickly after its creation in the 80s and as usual The French Antillean went back to their roots compas music. The problem now is French Antillean artists are playing compas everywhere promoting it as zouk. there is a mismatch between their definition of the zouk and the music they are playing. So we have started to correct this inacuracy by making sound corrections, providing accurate facts and references that unfortunately are deleted as often as possible. There should be a protocole for that. Their latest action has been to put their zouk text under protection and start messing with the compas article. We repeat: as a fast carnival beat mix of gwo ka, African, biguine, calypso, cadence or compas...zouk cannot influence kizomba, Cabo verde styles and any music genre as such. However, French Antillean artists can influence others with their compas music. In addition many artists such as Tito Paris from Cabo verde and others areas had already been influenced by meringue compas artists. It is a known fact...read Peter Manuel in his Musics of the Non-western World, University press 1988 page74. We provided proof of the source of the word zouk introduced in the 80s by Haitian artists who toured the French Island...but as usual they would delete it. Facts is not important for them but their agenda. So I hope I have enlighten readers some how so they could understand what is behind the Accuracy disputed.Pintade (talk) 14:09, 12 January 2013 (UTC)

'We'? Dougweller (talk) 13:18, 13 January 2013 (UTC)

Wikipedia articles are not built around unwritten facts and personal testimonies. There has to be reliable sources. If there are in fact different definitions of a style, where different groups use different terminology, all definitions that are in actual use should be covered in the article, with sources. --bonadea contributions talk 12:42, 14 January 2013 (UTC)

What is written here about compas can be found in the work of many writers and publishers such as Gage Averill, Peter Manuel, All Music Guide, compas magazine, Gabriel Debien, Tambor battant, etc. They all talk about Nemours Jean-Baptiste populazition of the compas name; how this music was introduced to Dominica and mostly the French Caribbean Islands in the 50s to become their basic music; the influence of compas on Cape verdean artists like Tito Paris in the 70s, etc. Regarding kizomba make a review of many CDs and see for yourself. I am not inventing anything because I am committed to the same standard of objectivity without passion.

So your sudden focus on the compas article left me a little confused. I would also appreciate it if you could be more specific here: " If there are in fact different definitions of a style, where different groups use different terminology..." ThanksPintade (talk) 14:35, 14 January 2013 (UTC)

Compas Rhythm

Compas music (written as Compas Direct in French or konpa in Haitian creole) is a rhythm created by the late Maestro Nemours Jean-Baptiste. Before the creation of Compas Direct, there was the genre RASIN which still exists today. But the night club owners and the promoters used to contract the Cuban and Dominican Groups, especially during the Holiday Seasons to come to Haiti to entertain the people. Compas, Konpa, was created by Maestro Nemours Jean-Baptiste, not Popularized by him.

There is no doubt that Maestro Nemours Jean-Baptiste is a musician well qualified to be able to conceive and improve upon a new swing. His care in adapting his original ideas to the tastes of the public is acknowledged by their pleased attitude toward his inspiration. He gave impetus to Haitian Music by creating the rhythm known as "Compas Direct." This creation was enthusiastically welcomed and it brought immediate "fame" to Maestro Nemours Jean-Baptiste. ('Source IBO Album ILP 107 "THE SENSATION OF THE DAY".)'

From its inception, this new rhythm was approved of by everyone. Both young and old could dance to it with ease.(Source IBO Album ILP 107 "THE SENSATION OF THE DAY".)

~finrFinrasipc (talk) —Preceding undated comment added 20:49, 16 April 2013 (UTC)

Nemours popularized compas music instead of creating it. It's obvious he is the originator of the name "compas", however, as a meringue, compas is not his creation. This is the same meringue people have been dancing and singing for years in Haiti. Great popular heavy meringue bands such as "Super jazz des jeunes", "Orchestre Isa el Sahe" all the musical groups that existed before 1955 were all playing meringue. The meringue was in the brass bands of Occilius Jeanty, in the street, in Cuba "tabatiem tombe", America "yellow bird", south America, etc. Pintade (talk) 20:43, 29 April 2013 (UTC)

Artists of konpa

Kassav which Jocelyne Beroard work with many artists. They worked, for example, with Wyclef Jean and Tabou Combo. So they sang some song konpa. But their songs are essentially zouk. They're not compas or méringue artists. --Idylh (talk) 12:47, 29 March 2014 (UTC)